The Oscar-nominated actor Dev Patel steps behind the camera for the first time with the bloody, pulpy thriller “Monkey Man.” It follows a standard revenge movie plot, but Nathan Weinbender says it stands apart with its mayhem and its sense of righteous anger.

“Shōgun” is an updated adaptation of James Clavell’s 1975 novel about an Englishman stranded in Japan, Dan Webster says in his review.

In “Problemista,” his first film as writer-director, comedian Julio Torres skewers the American dream in a story of a young immigrant’s quest for a work visa. Nathan Weinbender says this quirky comedy is an earnest, if imperfect, first look at a new filmmaker’s singular vision.

“Love Lies Bleeding” is violent, lurid and full of shocking twists. It’s also disarmingly weird in a way that, Nathan Weinbender says, will either thrill you or annoy you.

Doug Liman’s “Road House” remake gives new meaning to the term “guilty pleasure,” Dan Webster says in his review.

Ripped from the headlines, Oscar-nominated “Io Capitano” will tear at your movie-fan heart, Dan Webster says in his review.

“Argylle” has a huge cast, a massive marketing campaign and a plot full of twists and turns. It’s also a soulless hunk of CGI-smeared dreck. Nathan Weinbender says that this caper comedy from the director of the “Kingsman” movies, now on V.O.D., is D.O.A.

“Dune: Part Two” has already conquered the box office, so you can expect even more epics about intergalactic war and an element known as Spice. Nathan Weinbender says that even those left cold by the last “Dune” may find themselves caught up in the story this time.

“Dune: Part Two” looks great, but its technical virtues can’t elevate a script that suffocates us with self-importance, Dan Webster says in his review.

A new Coen brothers movie is always cause for celebration. But Nathan Weinbender says that “Drive-Away Dolls," a crime comedy directed by Ethan Coen without Joel, feels more like a meager tribute to their work than it does the real thing.